I used to tell people that “I hate movies” because “They’re too long” and “I don’t have the time or energy to sit through that.” My friends helpfully—and somewhat sardonically—pointed out that if I dedicated as much time to watching movies as I do to binging TV, being on social media, or generally surrounding myself with white noise, I could probably watch a movie for each day of the year. Thus, ever since the cultural phenomenon that was Barbenheimer, I’ve made a pact with myself to develop my film literacy. Now, I genuinely enjoy watching movies and analyzing aspects of them I previously might have ignored—cinematography, costuming, and most interesting to me, score. Whether I’m studying, taking a walk, or just need something new to listen to, I can rely on movie soundtracks to keep my mind occupied while listening to a story. The following is a brief list of some of the best scores I’ve listened to this year.
Oppenheimer
Oppenheimer’s score is Oscar winning, and for good reason. It is light and airy against a bleak storyline, filling each scene with energy, tension, and a paradoxical grace. Composer Ludwig Göransson told Vanity Fair that scoring Oppenheimer was emotionally difficult, as he was constantly taking himself along the same internal journey as the protagonist in order to “embolden what he’s going through.” The perpetual violin juxtaposed with the listener’s presumed knowledge of the storyline makes Oppenheimer’s score a stunning listen.
Poor Things
Another Oscar-nominated score, Poor Things blew me away with its uniqueness. The floaty, mind-bending motif present throughout aids viewers in understanding Bella and her childish view of the word. Poor Things is Jerskin Fendrix’s debut film composition, making his accomplishments, both on-screen and via nominations, truly exceptional. The Poor Things soundtrack will blow you away and make you appreciate daring one-of-a-kind scores.
Minari
Yet another soundtrack nominated at the Oscars, Minari is a 2021 film scored by Emile Mosseri. Despite never having watched Minari, I am incredibly swayed by its delicate score. Mosseri encapsulates feelings of wonder, comfort, and newness in his compositions; I could listen over and over, still moved by the magic (Mosseri also wrote the score for Kajillionaire, of which fans of Poor Things might enjoy “Bubble Beat”). In a way, the composition influenced the film more than the production process would usually allow: Mosseri composed the Minari score before any scenes had been shot. The soundtrack’s charm and elegance leaves the listener delightfully nostalgic.
Even if you haven’t seen these three films, their scores are worth the listen. Not only will they transport you to a different world, but exploring film music is a fun way to engage with a movie without having to watch it (if you’re lazy like me!). I hope to discover more composers, films, and scores that can satiate my hunger for a unique sound; soundtracks are an under appreciated, passionate music genre that should be praised more often.